Week 9 RAT
Lin & Tong, Re-Imagining a Cosmopolitan 'Asian Us' 1. Lin & Tong interview HK and Singaporean women to examine how Korean drama facilitates *A. all are true B. emerging social imaginaries from women's consumption practices C. different ways of being a modern woman in Asian societies D. different ways of being modern in Asia 2. Which is FALSE? Korean dramas are appealing across Asia because they *A. none are false B. facilitate emergence of social imaginary of modern Asian femininities C. re-affirm traditional/'Asian' values, an imaginary re-creation or construction D. are packaged with modern and trendy aesthetics 3. Which is FALSE? Transnationalism and Korean dramas refers to: A. cultural resonance, i.e. commonality of experience and identification B. the localisation of the global (and global production of the local) C. the consumption of globally circulated cultural products in cosmopolitan cities in East/South-East Asia *D. a cultural mix of Korean and HK/Singapore spiritual values 4. Which is FALSE? The hybridisation of cultural identity in the study refers to: A. how Korean dramas re-affirm the traditional discourse of femininities & provide a potential imaginary space for alternative, hybridised modernities and femininities B. seemingly conflicting discourses of the traditional (i.e. compassion) and modern (i.e. cosmopolitan urban lifestyles *C. the Singaporean government's 'Asian values' discourse, a modern day construct which can be used to reject liberalised Western ideas & continue paternalistic, authoritarian rule D. none are false 5. Korean dramas *A. all are true B. constitute an imaginary space which portrays a social universe with compassion; this re-creation is imaginary, there is always a tension between realism and idealism C. play a role in women's (simultaneous) consumption, construction and exploration of different modern Asian femininities D. facilitate female agency, although whether this role is progressive or regressive depends on how women use the dramas (rather than the narratives themselves) Kaur, Viewing the West Through Bollywood 6. Which is FALSE? According to Kaur, popular movies A. are 'symbolic representations' (i.e. where beliefs and experiences find partial reflection in narratives) which highlight how society would like to represent itself B. represent a reciprocal influence; they both influence society and are influenced/shaped by that society C. deal with narratives that emerge from socio-political transformations in society *D. are 'symbolic representations' (i.e. where beliefs and experiences find reflection in narratives) which represent how society is 7. Which is FALSE? According to Kaur, Hindi/Bollywood movies had 'renewed' popularity in the 1990s: A. following economic liberalisation & emergence of a globalised middle class in India, with experiences & consumption practices similar to the Indian disapora *B. due solely to nostalgia C. none are false D. because they reflect the reality of the urban middle class (but not the whole of India) 8. According to Kaur, the diaspora A. is keen to devour cultural products which bring them no shame *B. all are true C. attempts to reconcile their experiences in the new ‘home’ with society back in the ‘homeland’ via popular movies D. is particularly keen to lap up rosy/positive images of Indian society 9. According to Kaur, 'authentic' values in Hindi movies: *A. all are true B. character redemption is possible only through recognition of the West as hollow & a return to authentic roots in India C. emphasizes & privileges Indian traditions and family values D. characters are evaluated according to the extent of local interaction, whereby less 'polluted' (i.e. Western) equals more Indian 10. Which is FALSE? According to Kaur, in popular Hindi movies the Occident, or the West: *A. none are false B. is used as a 'rhetorical counter' in order to define & really understand the non-West/orient (i.e. India) C. serves to support nationalism by subsuming or covering over problematic dichotomies (i.e. contradictions), such as urban/rural & modern/traditional D. reveals long-held images of the West & the construction of the Occident on film